Sorry I Haven't Read Your Script

Zak Forsman

Zak Forsman

Major Contributor
So many of you have sent me scripts to read for feedback, some months ago. I'm very sorry i haven't been able to read them after saying I would. Life and work and my "to do" list has been jam-packed for the last six months and there is no end in sight.

Rest assured you really aren't missing much. I'm an improvisational filmmaker at heart and essentially do my writing on-camera, not on paper. The feedback I could offer would only be of value to a filmmaker that works like I do.

Best of luck on these projects.
 
Locally I've had people want me to read their scripts... and I rarely accept.

One time I was going to do this project with a guy that was supposedly proven... and when I read his script I was horrified at how crappy it was... and when I offered some suggestions, the dude freaked... I ended up getting a half dozen emails from the dude threatening to sue me if he found out that I stole his ideas :)

The guy even said he would sue me if I used the names... "sarah" and "alan"...

:) ever since then I want to do something... anything... with all the characters having those names.
 
MattinSTL said:
Locally I've had people want me to read their scripts... and I rarely accept.
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You know what the worst is...when your wife wants you to read her script. If you think it sucks, you can't bullshit her because she knows you too well, and if you tell her the truth, she'll never let you forget it!
 
One way I get around reading scripts is that I tell people I only direct my own material. It's totally true, and it really stops potential submissions in their tracks.
 
I am definitely open to other... better.. writers to send me scripts.. but.. I have yet to enter a good writer.. soo
 
in zak's absence, i will be willing to read your script for $500. since ordinary people will be watching the film, it makes sense that you get the opinion of an amateur with no professional training whatsoever. that's where i come in...
 
ugafan said:
in zak's absence, i will be willing to read your script for $500. Since ordinary people will be watching the film, it makes sense that you get the opinion of an amateur with no professional training whatsoever. That's where i come in...
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:)
 
you know whats weird....

I normally dont read other ppls scripts either....

but the other day I got a script from a little filmmaker named ((((((((STANLEY KUBRICK))))))).... so I gave it a quick glance over.... it was ok, nothing special

I'm too busy for his "existensialism" and his "cold lack of humanity" and his "AMAZING cinematography" ..... and all his "dynamic character development"

what a maroon!
 
I have a hard time giving good feedback when I read scripts. I'm not a critic, so the best people usually get from me is "I like it." I'm super deep like that.:)
 
Batutta said:
You know what the worst is...when your wife wants you to read her script. If you think it sucks, you can't bullshi* her because she knows you too well, and if you tell her the truth, she'll never let you forget it!
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That may be true for you, but after almost 12 years, I can still slide much past mine. Ok, so she won't fall for "Dog Jaw" any more, but it is amazing what she will believe.

"The bigger the lie, the easier it is for people to believe it".
 
The thing is to a lot of people a script, even a really well written one can be very boring to read. They don't have the immersion factor that a good novel or short story does. Even the finest dialogue on the page pales to the effect of a decent actor reading it. I think that most people, even a good deal of filmmakers would rather see the film than read the script.

About the whole idea of doing an improvisational film, I'm planning on doing one this summer, so this would be aimed towards Zak -- any advice on this type of production style?
 
Nektonic said:
The thing is to a lot of people a script, even a really well written one can be very boring to read. They don't have the immersion factor that a good novel or short story does. Even the finest dialogue on the page pales to the effect of a decent actor reading it?
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I agree. I've never understood why. Even if you remove sluglines and novelize them a bit, they're still dull. Even A List scripts.
 
brianluce said:
I agree. I've never understood why. Even if you remove sluglines and novelize them a bit, they're still dull. Even A List scripts.
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Well, to be fair, compared to a good or even competant actor delivering lines the dialog in many novels is not great either. One thing I've noticed in prose fiction is that novelists seem to get away with more long drawn out speeches compared to what a screenwriter can.

I think the shorter bursts of dialogue style that is common to screenplays would be a good lesson for some fiction writers to learn to use at times.
 
Nektonic said:
About the whole idea of doing an improvisational film, I'm planning on doing one this summer, so this would be aimed towards Zak -- any advice on this type of production style?
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Very few people can pull this off, you'll never sign a name actor for a film like this unless you are a name yourself, and no one will ever finance this type of production within the Hollywood system. Plus it can turn into a steaming pile of dogshit if you screw it up.

At least you won't need a script supervisor.

Zak has his own little way of doing things; I suspect most of his ways are beyond the duplication abilities of others because they are endemic to his personality.
 
Nektonic said:
The thing is to a lot of people a script, even a really well written one can be very boring to read. They don't have the immersion factor that a good novel or short story does. Even the finest dialogue on the page pales to the effect of a decent actor reading it. I think that most people, even a good deal of filmmakers would rather see the film than read the script.

About the whole idea of doing an improvisational film, I'm planning on doing one this summer, so this would be aimed towards Zak -- any advice on this type of production style?
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incorporating improv requires at least the same preparation as a film with scripted dialogue, if not more.

1) do everything you would do to prepare for a conventionally scripted film, including writing a screenplay.

2) learn how an actor breaks down a scene and do that for yourself to uncover the objectives each character has in each scene. this is the primary "direction" I give, telling the actor what to pursue. I also create a cheat sheet of options for each scene to shake things up if the spontaneity gets lost.

3) have your DP light the interior spaces rather than each shot to give yourself the freedom to revise blocking for camera(s) and actors without losing momentum.

4) workout the blocking for the actors AND camera(s) so you can shoot the scene beginning to end. I like to keep the camera moving so I draw overhead diagrams of the set with "keyframes" for camera and actor marks, instead of storyboards. I prefer to think in terms of movement rather than frames.

5) the purpose of improv is to create a framework that allows you to expect the unexpected. so shoot as close to chronological order as possible to incorporate the great surprises you are seeking because they WILL affect the emotional trajectory and continuity of the narrative.

improv does not mean a free for all. it is guided by the same principles (objectives & intentions) as following scripted dialogue. the difference is I give the actor's the freedom to use their own language, to experiment with choices, to go deeper, all guided by the underlying intentions for the scene so that it concludes where it needs to.

I rediscover the film i'm making three times -- on the page, on camera and in the edit bay.
 
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Zak Forsman said:
3) have your DP light the interior spaces rather than each shot to give yourself the freedom to revise blocking for camera(s) and actors without losing momentum.
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That's exactly how I light a scene. I figure out the lighting and let the actors work within the light/shadow scheme. It works way better for me and seems more interesting.
 
Zak Forsman said:
3) have your DP light the interior spaces rather than each shot to give yourself the freedom to revise blocking for camera(s) and actors without losing momentum.
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you are DEAD ON with this one.... I was DPing a short this weekend and I kept telling the director we should do this... he wouldnt listen....








so I beat him to death with a 25 lb toilet plunger

no, but really.... Zak you are spot on with all your techniques... I prefer to approach filmmaking this way as well... I bet you are super into Tarkovsky? If not, you should be bruh!!!!
 
hoofandmouf said:
you are DEAD ON with this one.... I was DPing a short this weekend and I kept telling the director we should do this... he wouldnt listen....








so I beat him to death with a 25 lb toilet plunger

no, but really.... Zak you are spot on with all your techniques... I prefer to approach filmmaking this way as well... I bet you are super into Tarkovsky? If not, you should be bruh!!!!
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my production company, SABI PICTURES, takes its name from a passage in his book, Sculpting in Time.
 
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